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Shelley (2016) [Fantasia International Film Festival 2016]

shelleyIn a remote house completely off the grid, Louise and her husband Kasper hire a Romanian maid to help with house chores and take care of their chickens.  As the bond between Louise and Elena, the maid, grows, Louise asks her to carry a child for her as she cannot do so herself.  After careful considerations, Elena accepts.  Unfortunately, this is where the honeymoon phase ends and things take a turn for the odd and creepy.

The film is directed by Ali Abbasi who co-wrote with Maren Luise Kaehne.  Together they created believable characters in an interesting setting as they live completely off the grid without any technology but make due with what they have.  In this film, it’s a choice by the characters and not imposed in any way.  The characters have different backgrounds and speak different languages, leading them to speak English to understand each other which is a nice way to get a European film shot in English for a good part of it.  The differences in cultures also add nicely to the depth of the characters.

Unfortunately, these characters are given very little to do that is of interest.  Even when Elena’s pregnancy takes a turn for the weird, it’s barely enough to keep the attention which is too bad as it could have been great had it been exploited better, a great take on pregnancy horror, a sub-genre we see very little of (Grace, A l’interieur, Rosemary’s Baby), that fell flat without enough happening or strong enough happenings.

The very small cast keeps the film feeling intimate and minimal with three strong lead performances.  In the part of Louise, Ellen Dorrit Petersen brings a calm and quiet, yet strong presence.  She handles things beautifully when it would have been so easy to go into overacting in a movie with this subject.  Together with actress Cosmina Stratan as Elena, they build a visible friendship and bond and then, when things change, they show the strain between them without saying much.  Supporting these two performances is Peter Christoffersen as Louise’s husband Kasper.  He does well with the smaller part he is given.  His emotions feel rawer, less controlled. The rest of the small cast is also talented and believable in their parts.

Shelley is another film with two cinematographers working in tandem where which scene is whose is indistinguishable.  Nadim Carlsen and Sturla Brandth Grovlen do this while bringing serenity to the scenes, particularly the outdoors sequences.  The film looks peaceful, even once the creep factor is turned up.  Many scenes on the lake could be turned into a tourism add for overworked city folks.

Supporting all of this is the music by Martin Dirkov which is subtle yet effective.  Some of the scenes when things are going oddly and supernatural elements may be involved, the music bring home the creepiness while not becoming overbearing or telling viewers what to feel.

While Shelley is an interesting take on the pregnancy horror sub-genre, the film is very slow with very little going on, making it less interesting than it had potential for.  The less is more approach usually works for this reviewer, however here it was much too little and lead to an expected ending with very little pay off.

Fantasia International Film Festival ran from July 14th until August 3rd, 2016 and will be back in the summer of 2017.

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Slash (2016) [Fantasia International Film Festival 2016]

slashA teen discovers slash fan fic and writes some about characters from his favorite series Vanguard.  After an older girl reads some of it and he gets in trouble in school for its graphic nature, she pushes him to post it online for all to see and to get feedback.  This gets him noticed by one of the moderators of the forum and he’s encouraged to go read an excerpt at a Comic-Con type convention. Writer/director Clay Liford adapts from his own 2012 short of the same name, changing the lead’s obsession from Harry Potter to a fake series called Vanguard.

Here he builds a coming of age story where the two leads, Neil and Julia, are at different points in their teenage evolution and in their sexual awakening.  Both characters feel real and have natural interactions with each other and with the adults and teens around them. The characters and situations are believable, especially for someone (like this reviewer) who has encountered many a fan fic writer and read a few horrendous and other decent bits of it.  Setting the film partially at a comic-con works here as it puts the two nerds in what feels like their natural environment, where they fit in better than in their school or home settings.

Both leads here are talented and natural at their parts.  Michael Johnston plays up Neil’s awkwardness, creating a very human 15 year old nerd with dreams, aspirations, worries.  His character is never a caricature of emerging teen writers and never a send up of nerds as is often seen in these types of movies.

Playing opposite Michael Johnston is Hannah Marks as Julia, the less sheltered and more experienced fan fic writing 16 year old who shows him the ropes in terms of getting out there and finding himself.  Marks plays her character full force, never skimping on any emotions, yet never exaggerating or hamming it up.  The viewers feel with her, go through her emotional roller coaster with her.  The supporting cast, including a great Michael Ian Black leaving his sarcastic persona behind, does a great job and let Michael Johnston and Hannah Marks shine, not over shadowing them while also turning in good performance.

The film’s cinematography by Ellie Ann Fenton makes it look a bit like it belongs on current MTV or on a big screen at a convention, which is not a bad thing as this style lends itself to the subject matter at hand.  The way the scenes are shot, their settings also add to this.  The film looks good and is well framed, making it easy to concentrate on the two leads.

Slash is a well-crafted film about teen experiences and sexual awakening for the teen nerd, mainly viewed through the eyes of a fifteen year old boy.  His experiences and feelings are relatable, making even the uncomfortable moments work.  The film is touching in parts and a bit cringe-worthy in others, which are both good things here.  The film is entertaining and a glimpse into two slash fan fic writers’ lives.

Fantasia International Film Festival runs from July 14th until August 3rd, 2016.

Seoul Station (2016) [Fantasia International Film Festival 2016]

seoul“If I had a place to go… I wouldn’t have stayed at Seoul Station.”

Yeon Sang-ho’s animated prequel to the excellent zombie action film “Train to Busan” is every bit as terrifying as its successor, and occasionally much more intelligent and biting in its social commentary. While “Train to Busan” is a very emotional look at class warfare and how the society divides in the time of crisis, “Seoul Station” is a very evocative commentary on the poverty crisis in the world. This horrific zombie virus is able to thrive thanks to the massive homeless population in South Korea, and it’s confronted more than once in how the government views its homeless as animals and sub-human even before the flesh eating ghouls appear.

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Sharknado: The 4th Awakens (2016)

Sharknado4At this point you kind of have to accept the “Sharknado” movies will never be as good as the novels, so going in to “The 4th Awakens” means embracing it as a movie, and a media experience. It has a slew of appearances and cameos from notable internet personalities like Andre “The Black Nerd” Benjamin, to character actors like Gilbert Gottfried. Yes, even the Chippendales dancers appear to thrust against some sharks. “Sharknado” is a virtual side show of a genre offering that holds its tongue firmly in cheek, even when turning hero Fin in to a basic rip off of Ashley Williams from “Evil Dead.”

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Sing Street (2016) [Blu-Ray/Digital]

SingStreetVery few films can manage to understand how music is a very important aspect of life and can sometimes drive us and move us in to aspirations, inspiration, and love. The other great music film released in 2016 was “Everybody Wants Some!!” While Linklater explored how music is the soundtrack of our lives, John Carney’s masterpiece “Sing Street” is about how music can launch us in to realms we never knew were there. Music can open up doors and allow us to see things about ourselves that are incredible, and sometimes very ugly. A beautiful amalgam of “Almost Famous,” and “Say Anything,” with a hint of “Once,” John Carney is again at his top conveying a musical drama centered on more impoverished characters.

Carney sets his film in the middle of 1985 in Dublin where our trio of protagonists is obsessed with music. For them music seems to be the only salvation in the drudgery that is their everyday lives. Conor is a teen approaching high school who manages to ignore his parents’ dying marriage and the failure of role models like his big brother and father with music. When we first see him he’s playing his guitar in his room attempting to tune out his mother and father arguing with one another, and then uses their rage to fuel his creativity. He reaches an epiphany when his older brother Conor helps him realize that music is what’s keeping the world in motion, as music videos cover the general stratosphere of local television.

Conor decides to form a band of his own as a means of coping with going to a public school run by his local church. The seams almost come together at once for Conor who begins to come of age through musical expression, all the while falling head over heels for unique beauty and aspiring model Raphina. “Sing Street” brings us through the journey of Conor and his band, as they try to create their own style of music all the while steering through a school that openly promotes conformity and is run by a very abusive head priest. Carney taps in to the magic of the eighties beautifully, revealing how they influence Conor and his friends to concoct their own unique style of music, while doling out the hits from bands like Duran Duran and The Clash.

Everything from the performances, to the narrative, right down to the music is incredible, while Ferdia Walsh-Peelo is pitch perfect as the awkward Conor who begins to blossom the more he embraces his individuality. Despite blunt violent rebuttals from the school bully, and the school’s staff, Conor inspires others to flash their individuality proudly. This helps him cope with the startling realization that failure and lack of fulfillment surround him, and he has to find a way to escape before he’s eventually dragged down in to the slums. Along with Walsh-Peelo, Lucy Boynton is excellent as enigmatic Raphina who becomes Conor’s virtual muse, and Jack Reynor the older brother and mentor to Conor who represents everything he could be, for better and for worse.

John Carney just continues impressing with brilliant, beautiful tributes to the magic of music and how much is represents the language of life. “Sing Street” is an absolute masterpiece. Featured in the release from Anchor Bay is the Digital Copy for consumers. There’s “Making Sing Street” a five minute exploration of the film’s story, how John Carney used his own experiences in the film, and how the film conveys his own wish fulfillment. Writer/Director John Carney & Adam Levine Talk Sing Street is a three minute discussion about the movie mixing music and film together and the realistic depictions of the 80’s. Finally, there is the Cast Auditions, which feature a slew of audition reels from the cast. There’s an introduction from John Carney, and footage featuring Ferdia Walsh-Peelo, Lucy Boynton, Mark McKenna, Ben Carolan, and more.

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The Sound of a Flower (2015) [New York Asian Film Festival 2016]

soundofaflowerDuring the Joseon Dynasty in South Korea, Pansori opera was only sung by men as women were forbidden by law to sing.  It was believed that a woman’s body was too weak to sing.  Against those odds, Chae-Sun decides she wants to become a Pansori singer, going as far as dressing as a man to be allowed to sing.  With much reticence, Pansori Master Shin Jae-hyo takes her under his tutelage and makes a great singer of her.  When it’s found that the young man is in fact a woman, the master is imprisoned and the student makes a deal with the ruling Father-King Heung Seon Daewongun to save him.

The Sound of a Flower was written by almost a half a dozen people and still feels cohesive which means this is a great team and the director brought all of their work together with talent.  Director Jong-pil Lee co-wrote the film with Ah-Young Kim, Jae-eun Jeong, Hye-rim Park, and Mi-na Chung.  This team created a beautiful period piece and historical fiction where the history of Pansori opera and its first female singer is explored in a way that flows well and includes classic songs that most people outside of its country of origin have probably never heard. As the singing is very important in this film, the casting of a singer for the lead is not stunt casting as it often is but necessary.

In the part of Chae-Sun, the first female Pansori singer, is Bae Su-zy a member of the KPop group Miss A.  Here she takes the part of Chae-Sun and disappears into it, becoming this other person, this sweet and timid, yet determined woman who takes on incredible odds to achieve a dream even the law forbade.  From the get go, she gets the viewers to root for her and just keeps impressing them throughout the film, her subdued moments are contrasted by moment of pure courage and boldness and her performance shows great nuances and that she knows how to bring the right levels of emotions to each scene which makes her performance absolutely shine.

Playing opposite Bae Su-zy are Seung-ryong Ryu as the Pansori Master Shin Jae-hyo and Nam-gil Kim as Prince Daewon the King’s father.  Shin Jae-hyo shows a calm determination for most of the film as well as a lot of care for Chae-Sun.  His performance is subtle and strong, with emotions clearly held back most of the time, showing so much even in silent scenes.  The man’s expressions talk for him many times, his eyes say so much.  His emotions at times come through so well, they will break viewers’ hearts.  Nam-gil Kim plays devilish with a passion, abandon even at times.  His performance is less subtle and more extravagant with is entirely called for here with his more flamboyant character.

The attention to details in The Sound of a Flower is incredible.  The costumes by Yoo-jin Kwon and Seung-hee Rim are beautiful and so well made.  The production design by Jong-gun Lee looks stunning.  These are showcased by cinematography by Hyun Seok Kim in scenes and sequences that linger on just the right things for just the right time.  The balance in colors, brights, and darks is well thought out and gives room for the other visual aspects to shine.  Of course, in a film about opera, the music is of high importance.  Here the music by Tae Song Kim is subtle and adds perfectly to the classic Pansori songs and numbers.

The Sound of a Flower is a beautiful movie, well cast, well acted in stunning settings, with high quality costumes.  Fans of historical dramas will love this musical and most viewers should learn a few things about Pansori opera.  In all of this, it’s also a tragic love story based on historical facts that tugs at the heart.

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The Secret Life of Pets (2016)

SecretLifeofPetsThe best way to describe “The Secret Life of Pets” is “Toy Story” meets “Looney Tunes.” In fact the “Toy Story” comparisons are never far off, as the film’s formula is most derived from Pixar’s film where we view the secret lives of everyday household elements when their owners aren’t looking. This time we set down on a random apartment complex in the middle of Manhattan where a slew of household pets commune and indulge in their own hobbies when their owners are out for the day. Louis CK does a wonderful job voicing Max, the hero of the film who is a terrier and loyal friend to his owner Katie. While Katie is gone for the day, Max gets together with the pets of the building to talk over the day and discuss what they think happens when their masters are gone.

Eliie Kemper as Katie is a single working woman with a heart for dogs who bonds with Max, and then suddenly brings home a new dog one day. Max is horrified and angry when Katie brings home big fluffy dog Duke, a well meaning adopted pet who tries to make friends with Max and then forms a rivalry when he realizes Max is trying to get him kicked out of the house. While being walked one day, Duke tricks Max in to going on to a construction site, prompting the pair to get lost in the city. With dog hunters and vicious cat on their tail, the two have to work together with the help of anti-owner revolutionary leader, the bunny Snowball. Meanwhile puffy dog and neighbor Gidget goes looking for Max and Duke, hell bent on bringing them back home.

“The Secret Life of Pets” is a subtle celebration of New York City, where our animal characters travel all throughout New York in an attempt to get hack home. The movie doesn’t attempt too much emotional complexity or adult themes, but instead revels in its silliness, ace animation, and often laugh out loud comedy. One particular scene involving an old woman’s reaction to a baby in its carriage is quite hysterical. The animation opts for a very unique and fun style in the vein of Chuck Jones and Tex Avery. Despite the movie injecting a lot of heart at the core of its narrative about animals and their devotion to their humans, the animation is decidedly exaggerated with a lot of the characters presented in over the top animated forms.

Even tough heroine Gidget is presented as something of a barking and talking puff ball throughout the film. At a little over seventy minutes, “The Secret Life of Pets” has no room for filler or flab to its story, providing a brisk and hilarious adventure with a genuine sense of emotion to it. It’s a fun, funny, and simple animated film, and one of the better animated entries to come to theaters. While yes it can be accused of taking from “Toy Story,” Max and Duke are genuinely entertaining heroes I hope we can see more of soon.